Sooloos Collections: Advanced Guide

Total Page:16

File Type:pdf, Size:1020Kb

Sooloos Collections: Advanced Guide Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ............................................................................................................................................................... 16 Exploring through Focus ................................................................................................................................. 19 Refining a View ............................................................................................................................................... 21 Playlists ............................................................................................................................................................... 24 Editing Album Metadata ..................................................................................................................................... 25 Editing on the Touch Control .......................................................................................................................... 25 Editing Metadata in Control PC/MAC ............................................................................................................. 28 Bulk Data Editing on the Touch Control ......................................................................................................... 33 Select and Edit Mode ...................................................................................................................................... 33 Forensic Focus ................................................................................................................................................ 39 Some Finer PPoints of Focus ................................................................................................................................ 40 Album Info ...................................................................................................................................................... 40 Focus Logic ...................................................................................................................................................... 40 Include/Exxclude Must/May have ................................................................................................................... 40 Genre .............................................................................................................................................................. 41 Renaming Album Artist ....................................................................................................................................... 42 Appendix 1: The Elements of Metadata ............................................................................................................. 44 Useful sources of Metadata ........................................................................................................................... 44 Duplicate Album Artists .................................................................................................................................. 45 Appendix 2: Managing a Collection .................................................................................................................... 46 Appendix 3: Storage ........................................................................................................................................... 48 How much Storage? ....................................................................................................................................... 48 Backup ............................................................................................................................................................ 49 Appendix 4: Using the iPhone, Touch and iPad Controls ................................................................................... 49 Appendix: Genres, Sub-genres and Styles .......................................................................................................... 62 Page | 2 Sooloos Collectiions: Advanced Guide Introduction This guide is intended for the serious Sooloos user and for anyone involved in preparing a complex or challenging ccollection. Although the automated systems of metadata collection are state-of-the-art, neverthheless to get the maximum benefit, especially for enthusiasts, stuudents, teachers, or for multi-user or institutional installations a degree of grooming, harmonising or structuring will always be needed. To those people we suggest that an hour spent reading this guide can inform the approach you will take to suit your needs. Because many of the most demanding collections we support are of classical music and because that genre is one of the most difficult to navigate, the examplles in this guide tend to be in that genre. However Sooloos is also excellent when applied to advanced Jazz, World and New Age collections; the concepts, tools and techniques apply equally. In this guide we also try to illustrate the strengths and weaknesses of the various control clients and particularly point out things to keep in mind if the goal is to navigate the collection on one of the mobile controls. Page | 3 Sooloos Collectiions: Advanced Guide Organising and Using a Sooloos Collection The Meridian Sooloos music management and server system is highly regarded for its intuitive and welcoming user interface. Unlike other music servers, a Sooloos system does not slow down as more content is added and, in fact, the larger the collection the better it will be because we can form more links between the content. On the other hand, no collection is too small and the system works beautifully with just a handful of discs. The Sooloos Metadata service will normally provide enough information to allow an average collection to be immediately useful. However some specialised or larger collections can benefit from grooming. This page shows two larger collections. This document illustrates some of the unique annd powerful Sooloos concepts and tecchniques which are worth understanding before either importing or refining a collection. Classical and other specialised music collections can need some thought; users have different requirements. Page | 4 Sooloos Collectiions: Advanced Guide Working with Sets We can group albums into sets exactly analogous to a CD boxed-set. The screen shows Page 1 of a Library after we have grouped two album sets (Albinoni Twelve Concertos; one by Hogwood and the other by Holliger). Album sets show a small icon in the top left corner of the key album. If we select the Hogwood by touching the set cover then we see the screen below. On the right there are two Tabs. ‘BBy this Artist’ and ‘In this Set’. Normally it will come up as shown. To break the set apart, press: X Remove for one of the albums. Another function is: Make Key which allows you to pick which album’s cover is shown at the top level (normally [1 of n] but there may be a reason to select another).1 Albums in sets will be listed in alphabetical order of Album Title or numeric order in a multi-disc set. 1 A system restart is necessary before changes to album key are visible. Page | 5 Sooloos Collectiions: Advanced Guide Here is another example of a Set. By touching the iicons on the right we can quickly view the Works and Tracks on each disc. Sets can be used to group boxed sets, but also other types of collections. Here we show a ‘Set’ grouping three different versions of the Album Beatles for Sale. TThe set, which can be reviewed on the right, contains the original UK recording and the Mono and Stereo re-masters. Page | 6 Sooloos Collectiions: Advanced Guide Organising through Naming The Artist renaming function can be used in two ways to change the appearance of the ‘sorted by artist’ view in the Album Browser.2 • Changing, for example the artist name Alfred Brendele to Brendel or Brendel, Alfred may make the album view more intuitive to some users. • Alternatively we can leave the Artist Name alone but change their Sort As position. Changing the sort for Brendel as shown below will cause albums by this artist to be at ‘bree..’ in the alphabet. 2 Informative Note: Renaming the Artist field willl not change the Artist in the Credits section. Page
Recommended publications
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
    [Show full text]
  • The Concert Hall As a Medium of Musical Culture: the Technical Mediation of Listening in the 19Th Century
    The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century by Darryl Mark Cressman M.A. (Communication), University of Windsor, 2004 B.A (Hons.), University of Windsor, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Communication Faculty of Communication, Art and Technology © Darryl Mark Cressman 2012 SIMON FRASER UNIVERSITY Fall 2012 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Darryl Mark Cressman Degree: Doctor of Philosophy (Communication) Title of Thesis: The Concert Hall as a Medium of Musical Culture: The Technical Mediation of Listening in the 19th Century Examining Committee: Chair: Martin Laba, Associate Professor Andrew Feenberg Senior Supervisor Professor Gary McCarron Supervisor Associate Professor Shane Gunster Supervisor Associate Professor Barry Truax Internal Examiner Professor School of Communication, Simon Fraser Universty Hans-Joachim Braun External Examiner Professor of Modern Social, Economic and Technical History Helmut-Schmidt University, Hamburg Date Defended: September 19, 2012 ii Partial Copyright License iii Abstract Taking the relationship
    [Show full text]
  • Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
    Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance.
    [Show full text]
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
    Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars.
    [Show full text]
  • September 2017 N°17
    ISSN 2499-1341 EXPRESSION quarterly e-journal of atelier in cooperation with uispp-cisenp. international scientific commission on the intellectual and spiritual expressions of non-literate peoples N°17 September 2017 CULT SITES AND ART Anthropomorphic face on the entrance slab of a circular ceremonial structure from Har Karkom, Negev desert, Israel (Pre-pottery Neolithic site BK 608). EDITORIAL NOTES accompany them. What echoes accompanied CULT SITES the paintings in the prehistoric caves? What performances, if any, were taking place in front AND ART of the decorated rock surfaces? The visual art stresses myths, mythical beings Walking along a narrow trail, on the edge of and/or historical facts, which are related to the a steep valley in the middle of a deep forest, cult and to the sanctity of the site. It is the visual we suddenly heard noises of human presen- memory that justifes the function of the site. ce, voices that were neither speeches nor son- Was it the same in prehistoric times? In front of gs, something in between. We reached a cave where a number of people were assembled in rock art sites, in the Camonica Valley, Italy, or a corner and an old bearded man was standing in Kakadu in Arnhem Land, Australia, or in the on an upper step of the rock talking ... perhaps Drakensberg caves, South Africa, or in the Al- talking, perhaps declaiming, perhaps singing, tamira cave, Spain, the presence of prehistoric but not to the people below. He was talking or art awakens a sense of sacredness, we feel that performing or praying in front of a white rock these were and are special places but ..
    [Show full text]
  • Recent Critical Praise for My Brightest Diamond's This Is My Hand
    Recent critical praise for My Brightest Diamond’s This Is My Hand Favorite Songs of 2014 “‘Pressure’: This baroque pop gem opens with drum corps and woodwinds, tacks on a tribal rhythm breakdown and just goes for it. All the way.” “…one of the most powerful and dramatic voices of the past decade.” “…an ability to cultivate intimacy through flawless, complex production with a beating heart.” “As a musician, Worden (who performs as My Brightest Diamond) builds her songs deliberately and impeccably…words are painted, sounds are sculpted, and the nature of Worden’s voice itself adds dimension—more than a single vocalist usually can. Her wholly enveloping, finely tuned alto sounds by turns forceful, vulnerable, cooing, playful, and endlessly emotive.” “…has a feeling for both the grandeur and the grain, building every sweeping gesture in her music out of a swarm of small details.” The Best of 2014 “…added to her smart, savvy chamber pop the influence of funk and marching bands. Her flawless voice pecks, jabs and floats above a world of rhythm that gives the new music its motion and undeniable heartbeat.” “At times, This Is My Hand all but commands listeners to dance.” “On her new album, This Is My Hand, she continues to reach far and wide with great success, adding marching-band rhythms and funky horns to her mix.” “…sounds like a modern-day Nina Simone…” “…This is My Hand works on a visceral level, conjuring Worden’s intended image of tribal, fireside collaboration through a rich diversity of texture, detail, and tone.” “…successful exercise in percussive, jagged art-pop that explores themes of self-acceptance, sensuality, and community.” “...unique and oddly beautiful.” “…presents an invigorating progression of Worden’s sonic palette…” #3: MBE Producer Ariana Morgenstern’s Top Albums of 2014 “…gorgeous new album…” “This Is My Hand is an album I would recommend to anyone—for exactly all the reasons that it’s hard to write about.
    [Show full text]
  • Music Styles
    Music Styles OK guys…here it is….Your research results for the styles of music which we have been investigating. Good work!!! Bluegrass Description: acoustic, fast paced, upbeat mixture of country, gospel, and blues. Origin: US, mid 1940’s Artists: Earl Scruggs, Bill Monroe, Riki Skaggs Instruments: Banjo, Fiddle, mandolin, guitar, dobro, ukeleles, harmonicas, and dulcimers Blues Description: an emotional, vocal music based on “blues notes” Origin: Southern states of USA, late 1890’s Artists: BB King, Muddy Waters, Jimi Hendrix, Eric Clapton Instruments: Guitar, harmonica(blues harp), bass guitar, drums, saxophone, trumpet Celtic Rock Description: mixture of celtic or folk with rock, resulting in fast, driving, upbeat tempo Origin: Ireland and Scotland, 1970’s. Artists: Dropkick Murphy’s, Flogging Molly, The Killdares Instruments: bagpipes, distorted guitar, drums, fiddle, tin whistle, accordion Christian Rock Description: style which resembles rock music with a focus on spiritual lyrics Origin: USA, 1960’s Artists: Casting Crowns, Jeremy Camp, Stryper Inatruments: guitars, drums, bass, keyboards, vocals Classical Description: style which includes several sub genres, such as, opera, symphony, choral, vocal, and instrumental. Origin: 9th century, Europe Artists: Beethoven, Mozart, Tchaikovsky Instruments: all orchestral instruments Classic Rock Description: hit rock songs from mid 60’s to early 80’s. Among best selling , and most popular recordings in the world. Origins: USA, UK Artists: The Beatles, TheWho, Pink Floyd Inatruments: Guitar, drums, keyboards, bass Comedy Rock Description: rock music with humorous lyrics Origins: USA, 1980’s Artists: Weird Al Yankovic, Adam Sandler, Arrogant Worms Instruments: guitar, drums, bass, keyboards, vocals Country Description: popular style of music which blends several other popular styles of music such as, blues, gospel, folk, and rock.
    [Show full text]
  • I S C O R D E R Free
    I S C O R D E R FREE IUTE K OGWAI ARHEAD NC HR IS1 © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag­ azine. DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiS­ CORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicit­ ed drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send e-mail to DSCORDER at [email protected]. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC.
    [Show full text]
  • A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
    A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In­ dividuals and groups of national and international fame, represen­ ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa­ tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre­ quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae­ cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors.
    [Show full text]
  • Cuban Music Teaching Unit
    Thesis Advisor: Frank Martignetti THE MUSIC AND DANCE OF CUBA: by Melissa Salguero Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Melissa Salguero Salguero 2 Abstract (Table of Contents) This unit is designed for 5th grade students. There are 7 lessons in this unit. Concept areas of rhythm, melody, form, and timbre are used throughout the unit. Skills developed over the 7 lessons are singing, moving, listening, playing instruments, reading/writing music notation, and creating original music. Lesson plans are intended for class periods of approximately 45-50 minutes. Teachers will need to adapt the lessons to fit their school’s resources and the particular needs of their students. This unit focuses on two distinct genres of Cuban music: Son and Danzón. Through a variety of activities students will learn the distinct sound, form, dance, rhythms and instrumentation that help define these two genres. Students will also learn about how historical events have shaped Cuban music. Salguero 3 Table of Contents: Abstract……………………………………………..…………………………..2 Introduction……………………………………….……………………………4 Research…………………………………………..……………………………5 The Cuban Musical Heritage……………….……………………………5 The Discovery of Cuba…….……………………………………………..5 Indigenous Music…...…………………………………………………….6 European Influences……………………………………………….……..6 African Influences………………………………………………………...7 Historical Influences……………………….……………………………..7
    [Show full text]
  • Steve Waksman [email protected]
    Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question.
    [Show full text]